Jockey, 2024
Aluminium
80 x 60 cm
Monitor[arm], 2023
Powder-coated aluminium
80 x 50 cm
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Artefact (error): A biotope based on humans’ actions. and doubts (#2) - 2023
Powder-coated cast aluminium
300 x 27 x 27 cm
Sorø Kunstmuseum
Standing 3 metres tall, the work comprises a black powder-coated aluminium column composed of many parts, all based on 3D scans of observations where a series of natural "errors" have occurred, which forms new tragic and absurd biotopes.
For example, a discarded plastic bag that forms the basis of a small puddle and becomes an unexpected breeding ground for tadpoles and other aquatic or-ganisms, or the bird's nest between the abandoned chemical cans that creates a hiding place for the birds.
These situations are the result of human presence and impact on nature and can be seen as "mistakes" or misunderstandings because they are unintentional and often at odds with our intentions to protect and preserve nature in its purest form. Nevertheless, they can also be seen as examples of animals' ability to adapt and exploit the opportunities that arise in their surroundings. In the same way, Rasmussen makes use of 3D scans, which through the translation process into the physical CNC milled form also cause inaccuracies and errors. The result is a work that, on the one hand, bears the stamp of the inherent uncertainty in the various translations, and at the same time submits to a controlled and rigorous expression. At the same time, the work also becomes a structure for new habitats inviting animals and plants to occupy the newly created spaces.
The work also explores the beauty of the imperfect through the use of digital technologies. The work thus encourages us to reconsider our relationship with nature, our dependence on technology and our ability to find beauty in the multitude of flaws and variations in the world around us.
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Dipsacus: “I Thirst”
A biotope based on humans’ actions and doubts - 2022
Cast aluminium
15 x 15 x 160 cm
Augustenborg_project
The representation is blurred and the function is uncertain . Images are translated into digital points, layers are systematically put together and allow emergence of complexities. The plant is deformed but under control, the vegetation surrounds the plant, cast in a dystopian image. The work is open for associations and processes but doubts its own presence as a new human structure who is willing to reestablish the balance of nature, to restore what we have destroyed.
The sculpture vibrates between several states, in constant motion between being present as a representation and abstract formations and supports the ambivalent feeling of a natural fragment - a fragment alienated and reduced through digital processing. The material that connects these two extremes is cast aluminum, painted black, with the intention to emphasize a post-apocalyptic aesthetic as an underlying visual language.
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Untitled; Screenshot (1320x2128 pixel) - (1320x3189 pixel) - 2021
Tapestry, wool, aluminium frame
1320x2128 pixel / 1320x3189 pixel
Of Gardens, Regstruplund, Jyderup
Photo: Brian Kure
Untitled: (1320 x 2128 pixel) / (1320 x 3189 pixel) består af to digitalt vævede tæpper som er placeret i ruinen af den tidligere havepavillon. Tæpperne fremstår umiddelbart som hvide monokromer, men ved nærmere observering lukker de op for komplekse strukturer af bindinger og svært placerbare fragmenter som nærmest opløses i sin egen visuelle komposition. Udgangspunktet er en række motiver af arkitektonisk fragmenter og planter, hvor den digitale bearbejdning har medvirket til uforudsigelige og abstrakte oversættelser af de oprindelige motiver. Værkerne er i konstant dialog med havepavillonens opløsning i den vildtvoksende fauna som væver sig ud og ind mellem hinanden som et nyt visuelt lag.
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Dipsacus (thirst) « (2020)
3D-print, tapestry, wax, plaster
15 x 15 x 160 cm
Of Gardens @ Regstruplund, Jyderup
Dipsacus: ‘jeg tørster’ - (2020) består af en række elementer der tilsammen griber fat i hinanden med udgangspunkt i plantens anatomi, kultur, materialitet, digitale og analog værktøjer. Den 3D-printet skulptur er en 3D-scannet gengivelse af tidslen – Kartebolle, som pendulerer mellem flere tilstande, i konstant bevægelse mellem at være til stede som repræsentation og abstrakte formationer. Materialiteten, der forbinder disse to yderpunkter, er den transparente plastik, der væver de svært placerbare fragmenter sammen til én masse og understøtter den ambivalente følelse af en genkendelig form – en form fremmedgjort og reduceret gennem den digitale bearbejdning. Titlen og placeringen af værket refererer begge til plantens iboende funktioner. Dipsacus: ‘jeg tørster’, lyder det latinske navn, som hentyder til den anatomiske opbygning, hvor bladene der danner skåle ved stammen opsamler dug og regn til livgivende næring, og understøtter den specifikke placeringen – soklen til havnens “reservoir” fuglebad. Samtidig hentyder det danske navn, Kartebolle, til plantens tørre frugtstande, som tidligere har været anvendt til karting af uld i forbindelse med vævning og peger mod 3D printets vævende strukturelle udtryk.
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"Spatial understanding" (2019)
Sketches, collages and notes - lithographic print, drawings on paper, print on foil, silicon on foil
Series of 7, (56 x 80 cm)
Mentorernes Momentum, Kunsthal Nord
Photo: Niels Fabæk
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Blueprint « (2018 - )
Blueprint
14 x 19 cm
Full serie comming soon.
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90.72 Plastisk Plateau« A collaborative sculpture project with Morten Modin, Styrofoam, neon light, charcoal drawing…Hvidovre Hovedbibliotek (2019)
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« Quiet now, I have to sync! (2018)
Wedge, 3D-print
65 x 27 x 27 cm
Curated by Nanna Stjernholm & Stine Kähler
Vibrant Matter - SAK, Svendborg
Photo: David Stjernholm
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Vi pløjer dine marker med kølens ranke plov « (2016) (We plow your meadows with the slender plow)
Asphalt on wood, 3D-print
500 x 400 x 40 cm
UDEN TITEL16, Kunsthal Nord
A digital scan carefully analyzed in order to shape and imitated a hilly landscape. Covered in a mixture of dark bitumen and gravel, it generates an image that is simultaneously smelly, brutal and beautiful image. A representation of digital points and lines shapes a fragment of a particular landscape, of a constructed mass. Like a lump of clay that is processed into a well-shaped sculpture – we plow the land into an architectural structure – that characterizes and builds our ideas of nature; the idea of nature as a romantic image and belief.
Golden fields – sprayed for profit – wave in the wind is just an illusion of romanticism and a twisted view of a reality forced out of its natural state of being.
The aesthetic image of landscape and landscape painting – built of a hidden abstract grid of parallel lines that extend continuously and never meet – satisfy our eyes and emotions but also questions its spatial, aesthetic and social structures as one of the main motif in art history and as a political and cultural course of events.
The key figure remains motionless for hours while still aware of the world around it. Hidden in the landscape, frogs are the first to let us know when nature is drastically out of balance, one of the reasons why, perhaps, in fairy tales they bring in what’s missing. By virtue of their extremely sensitive skin, permeable to the toxins in an environment it is currently one of the most threatened groups of animals on the planet, they are an accurate indicator of a traumatized biosphere.
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Practical Beauty (2014)
«concret elements, aluminium, lime, wood, stone
… GANGART, Festival for Art in public space (2014)
BUBOS - A biotopic sci-fi opera based on NASA and the relation between bodies, eco-machines and everyday systems
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by Kristian Byskov & Andreas Rasmussen…
Song: Lore Lixenberg & Simon Duus
…Composition & sound: Kristian Hverring…
Duration: 30 minutes…Kunsthal Charlottenborg (2013)